Reading Public Romanticism by Paul Magnuson

Reading Public Romanticism is an important new instance of the linking of esthetics and old feedback. right here Paul Magnuson locates Romantic poetry inside a public discourse that mixes politics and esthetics, nationalism and domesticity, sexuality and morality, legislation and legitimacy. development on his well-regarded earlier paintings, Magnuson practices a strategy of shut historic interpreting by way of deciding on particular models of poems, studying their rhetoric of allusion and citation within the contexts in their unique booklet, and describing their public genres, akin to the letter. He reviews the author's public signature or motto, the kinds and value of handle utilized in poems, and the resonances of poetic language and tropes within the public debates.

According to Magnuson, "reading destinations" potential interpreting the writing that surrounds a poem, the "paratext" or "frame" of the esthetic boundary. of their specific destinations within the public discourse, romantic poems are illocutionary speech acts that take a stand on public matters and bonafide their authors either as public characters and as writers. He lines the general public value of canonical poems ordinarily regarded as lyrics with little specific social or political remark, together with Wordsworth's "Immortality Ode"; Coleridge's "This Lime-Tree Bower My Prison," "Frost at Midnight," and "The historical Mariner"; and Keats's "On a Grecian Urn." He additionally positions Byron's commitment to Don Juan within the debates over Southey's laureateship and claims for poetic authority and legitimacy. Reading Public Romanticism is a considerate and revealing work.

Originally released in 1998.

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L. Austin1Hrai to Do Thingswith Words, 2d ed. (New York: Oxford University Press, 1975). 26 CHAPTER ONE Foucault transfers into the "paradise of ideas," if I may put it this way, the op­ positions and antagonisms which are rooted in the relations between the pro­ ducers and the consumers of cultural works. Obviously, it is not a question of denying the specific determination which the space of possibles exerts, since one of the functions of the notion of the relatively autonomous field, endowed with its own history, is to account for that determination.

As Michel Foucault argues, discursive analysis does not rely on the traditional unities of author, oeuvre, or the unity of a particular book or publication. For a reading of public Romanticism, such traditional unities slight the differences between public and private statements and often rely exclusively on the author's unpublished and private statements to explicate public questions. In determining the public cultural conscious­ ness, the private comments of authors in diaries, journals, and conversations are of secondary importance.

In Chapter 5 I argue that the Dedication and canto I of Don Juan are not only topical Re­ gency parody but also Byron's offering his "claim to praise," his claim for le­ gitimacy. While these works vary widely in their tone and content, they are speech acts that argue public issues and claim a legitimacy for poet and work. Foucault's tendency to define discourses by exclusion has other limita­ tions. " Bourdieu comments that 24AIikhail Bakhtin, Problems of Dostoevsky's Poetics, trans. Caryl Emerson (Minneapolis: University of Alinnesota Press, 1984) 185.